Creating installations of sculptural objects, Thea Djordjadze creates works that are placed so as to depend on each other and on space of their installation. Combining common sculptural materials, as wood or plaster with the household objects like foam and linoleum, she finds her inspiration in modernist architecture and design. Her geometric constructions convey a certain tension between materials and forms. The linoleum floor covering, typical for the kitchens from the early 20th century somewhat reveals the influences of growing up in former communist Georgia. The form and layout of her works often mimic the exhibition furniture, including vitrines and plinths.

Thea Djordjardze – Untitled, 2013

Formal Education and Exhibitions

Djordjadze was born in Tbilisi, Georgia. She started her studies at the Academy of Arts in Tbilisi, but the school was closed due to the civil war. She left the country and entered the Gerrit Rietveld Academy in Amsterdam, but after one year, she moved at the Kustakademie in Dusseldorf. Her work has been exhibited in numerous solo and group shows, of which is the Georgian Pavilion at the 2013 Venice Biennale and the 5th Berlin Biennial for Contemporary Art in 2008. From 1999 Djordjadze was a member of the artist group hobbypopMUSEUM which was using the old postal building in Dusseldorf for their activities and exhibitions. They printed several catalogues and were invited to show in San Francisco. She left the group in 2003, even they are still active.

Djordjadze was a member of the artist group hobbypopMUSEUM

Thea Djordjardze – As Sagas Sa, 2012

Titles with the Deeper Meaning

Creating hybrid compositions that respond to the modernist aesthetics, Djordjadze uses the materials as ceramic, wood, glass conjoined with different fabrics, sponge or soap, indicating the realm of feminine domesticity. Assembled by the intuition, these pieces collide with strict architectural forms. The interesting characteristic of her work is the titles that always refer to popular culture, films, literature. She often invites the viewer to participate in some kind of research in which is included the transformation and installation of the objects. As Sagas Sa is a perfect example of her sculptural micro-universe – a combination of some old museum’s vitrine and strange object from the 70’s sci-fi classic.

She creates hybrid compositions that respond to the modernist aesthetics

Thea Djordjardze – Pampel, 2006

Space as the Part of Installation

Djordjedze spends time in the space she exhibits, absorbing the character and energy that will help her to transform her sculptural works into an installation. Finding the inspiration in the material and atmospheric qualities of the room, she makes the artworks that unnoticed infiltrate our reading and understanding of it. She shifts the perspective on the space, provoking the viewer to question the use of the setting. Producing the new formal structures with surprising potential, Djordjadze masterfully extends the language of the sculpture.